Notice there are three trees on the left in the first photograph; the second photo was apparently taken next to the nearest of those three trees. (See Edwards, “The Photograph in Georges Rodenbach’s Bruges-la-Morte,” Journal of European Studies, 2000.). Magali Nachtergael showed me the page on the Répertoire de la Photolittérature Ancienne et Contemporaine site, which has a detailed history of editions of the book. Funny how, years later, I can still picture that one pose, how everything else has fallen away – all the bitterness, the arguments, the boredom – and left only that. Georges Rodenbach was born in Tournai to a French mother and a German father from the Rhineland (Andernach). I was sitting on her bed, and she, with her back to me, was grabbing at her short hair and pouting at herself; and I don’t know, I can’t recall, if I even found it beautiful at the time, but, after the break-up, this probably unreliable memory b. There’s a double contraction of time here: he doesn’t go into the past to remember his wife, and he also doesn’t go back to the quai itself: hence the photograph here can be understood as a mental image—not something the narrator sees at the time of the narration, but an image he calls to mind. Brilliant article – and brilliant project overall. 3, on p. 9: (This image has a different tint because it is from from the Wikimedia scans.). Media in category "Bruges-la-Morte" The following 39 files are in this category, out of 39 total. What the hell were they doing back then. He spent the last ten years of his life in Paris as the correspondent of the Journal de Bruxelles, and was an intimate of Edmond de Goncourt. My real trip to Bruges took place when I got home after visiting the actual city, when I gathered enough momentum to submit to Rodenbach’s pulsating testimony of the kind of beauty that can only be found in death, like one can sense in certain places such as the somber cathedrals, the towering belfries, the pebbled alleys and greyish quays that compose the skeleton of Bruges, once a decadent city brought back to life by the refined pen of a Symbolist’s contemplation. It's slow and sad like death might feel. For me the least interesting meaning is that the images are stock photographs chosen by the author. Funny how, years later, I can still picture that one pose, how everything else has fallen away – all the bitterness, the arguments, the boredom – and left only that. In the distance is a chimney and its reflection, and a church tower. Everything appears reminiscent of the loss of our loved one. They allow us, the reader, to be Hugues (both his gaze upon the city, and his recollection of it). It distills the town into water and towers, and at the same time gives the sense that it’s being represented whole, in its aspect—its “physiognomy,” to use a word I think Rodenbach intentionally avoided. Bruges-La-Morte – Georges Rodenbach Rodenbachs bekendste werk Bruges-la-Morte verscheen ook voor het eerst als feuilleton. Let us know what’s wrong with this preview of, Published Or the book doesn't really see her as innocent, casting her as a somewhat blandly archetypal manipulative harlot, but really who wouldn't fair poorly under the projected image of a lover who is unable to see her at all behind the other he has lost? The grey city is the real protagonist of the novella and in a way, Rodenbach wrote his own “Le Spleen” as Baudelaire did for Paris. Editorial Reviews. The Belgian writer Georges Rodenbach (1855-98) is identified above all with the city of Bruges. Rodenbach’s prose style is elegant; rich in metaphors and he uses resemblances as a tool to create almost spiritual language. Rodenbach worked as a lawyer and journalist. This conjunction sets up a reader for further concordances. The latter displays similar images of Bruges as the main story. The book sounds like travel propaganda for Bruges if the tourism board were trying to attract the goth crowd. Finishing off my Rodenbach readings with this marvelous novel. “As evening approached, he liked to walk, looking for analogies to his grief in deserted canals and ecclesiastical districts” (“Mais il aimait cheminer aux approches du soir et chercher des analogies à son deuil dans de solitaires canaux et d’ecclésiastiques quartiers”). He spent the last ten years of his life in Paris as the correspondent of the Journal de Bruxelles, and was an intimate of Ed. Bruges-la-Morte is, even in its novella-form, an operatic melodrama. Rodenbach écrivit encore quelques romans, Bruges la Morte (1892), Le Carillonneur (1895), sur les mêmes thèmes, en demi-teintes, du silence et de l'obscurité. It’s not that every image is keyed to its immediate context—this last one isn’t—but rather that most of them are, and that the book repays a slow reading that moves from image to text and back. There is clearly a person at the lower right of the photo no. A short essay on Bruges-la-morte is also available in English. Mist and fog blanket the cobblestone causeways and chilly canals watched over by brooding stone cathedrals from whose towers peal endless, mournful bells. It is more about a feeling than a story. The next image is arranged at the opening of chapter 2, when Rodenbach is writing about Hugues’s daily life. At the bottom of the page before this spread, we read: “And how melancholy Bruges was, too, during those late afternoons! He means, partly, Hugues’s dead wife; but it is not clear whether he imagines “character” as something that develops—through a sequence of images—or as a single concept that can be mobilized repeatedly. The text without illustrations is available in several places, for example as an e-book. 6. A very short novella 'Bruges-la-Morte' and a shorter essay 'The Death Throes of Towns'. The facing page has a photograph of a canal, the first of several. Here are a few notes on reading the opening pages. ITEM TILE download. Bruges, the 'dead city', becomes a metaphor for Hugues' dead wife as he follows its mournful labyrinth of streets and canals in a cyclical promenade of reflection and allusion--the ultimate evocation of Rodenbach's lifelong love affair with the enduring mystery and mortuary atmosphere of Bruges. by Dedalus. See also the site bruges-la-Morte and particularly chapter 23 of my study “Le secret de Bruges-la-Morte” in French. Perhaps they are also events we are to imagine Hugues did not register—they blended for him into the general categories of places that are “deserted,” and those with people who did not move or concern him. It also comes three pages after the mention of the location, after Hugues has already gone into the theater. But Rodenbach is forever associated with Bruges, the location for his most celebrated and enduring work. Bruges-La-Morte-Georges-Rodenbach. Best read during an autumn visit. At the least, it could have supplied Breton with the idea of deserted streets for the novel, The recent English translation by Will Stone poses a special problem for this project. Very poetic prose full of allegory and symbolism. This is a story that masterfully portrays human grief and the everyday rituals that one undertakes in order to cope. Many images are of nearly or completely deserted streets and waterways, as in Breton, as in Rodenbach. That is a difficult trick for a novelist who writes with images, and I think the ambiguities I have listed her actually help keep that possibility alive. download 15 files . At the least, it could have supplied Breton with the idea of deserted streets for the novel Nadja, and it echoes in Sebald’s sense of wandering, anomie, and mourning. Brand new Book. Georges Rodenbach (1855-1898) born in Tournai, spent most of his time in Ghent and later Paris where like his childhood friend and Flemish compatriot Emile Verhaeren, he rubbed shoulders with all the main players of the symbolist fin de siecle. I prefer to say that the correlation of images and actual places is intentionally partial and unelaborated. A slight amendment for you: there is an online English translation, the 1903 Thomas Duncan translation, scanned and hosted by the University of Illinois Brittle Books Project, here: http://hdl.handle.net/10111/UIUCBB:rodege0001brula. A very short novella 'Bruges-la-Morte' and a shorter essay 'The Death Throes of Towns'. I didn’t even see it first hand, I saw only her reflection in the surface of the mirror. Your email address will not be published. The latter displays similar images of Bruges as the main story. Still, the streets of Bruges have a sl. The next photo, no. Dossier pédagogique Bruges-la-Morte Georges Rodenbach roman (Espace Nord, n° 37, 2012) réalisé par Charline Lambert ! Bruges-la-Morte is a short novel by the Belgian author Georges Rodenbach, first published in 1892. “He felt that Her touch was everywhere,” Rodenbach writes, “in the intact, unchanging furnishings, sofas, divans, armchairs where she had sat and which preserved the shape, so to speak, of her body.” Against that description of an interior there’s this photograph of an outdoor scene, which we understand is the true form of his dead wife, even though—or precisely because—nothing in any one scene in Bruges can contain an exact representation of her. I sometimes get the worrying feeling that nineteenth-century men preferred their women to be dead than alive. If you love Symbolist literature, this is a fun, quick read. There are several meanings entangled here, which it may be useful to provisionally separate: (A) The city is a character. Whatever the sequence, and regardless of what he had his eye on, the pair is mesmerizing: the second photograph is given a vertical format and a full page, and it is placed opposite the first text in the book that proclaims the narrator’s intentions in walking the streets. This short novel bears a startling resemblance to Alfred Hitchcock's film, Its crazy how many frail wives just fall sick and die in these old books. This was a fascinating little Gothic novel, ripe with eerie poetic melancholy and described as "the" Symbolist novel. ), and an indeterminate number of people in the background along with the horse-drawn hackney cabs. Rodenbach worked as a lawyer and journalist. (But not so little that it isn’t worth re-photographing them?) This is the book most often taken as the starting point for novels illustrated with photographs. (“C’est pour sa tristesse même qu’il l’avait choisie et y était venu vivre après le grand désastre.”) It is not likely Rodenbach chose that exact place for the page break, because every chapter begins the same distance down the page; but it is entirely likely he wanted this picture opposite that particular evocation of Bruges. And why spend time translating one of the seminal novels with illustrations if its illustrations mean so little? The next image comes some pages later; it illustrates “the center of the town, the Grand’Place where the tower of the old Market Hall (“Tour des Halles”), huge and black, was defending itself against the night with the golden buckler of its clock-face” (p. 38). The carelessness and lack of concern for the visual—and the assumption that the photographs can be detached from the writing—may be characteristic of the history of the illustrated novel as a whole. And above all, it is a long meditation on “resemblance” . Each is the other and enables us now to dedicate ourselves not to the stopping of life but to the dedication of our life to the devoted mourning of our dead love. that was how he liked the town!” And then, on turning the page and seeing this photograph: “It was for that very melancholy that he had chosen it and gone to live there after the great disaster” of his wife’s death. He published eight collections of verse and four novels, as well as short stories, stage works and criticism. In their absence they enable our presence.”. I’m wondering if this entire theme of the dead city might have become a little too easy; it’s one of my misgivings about Sebald. In his best known work, Bruges-la-Morte (1892), he explains that his aim is to evoke the town as a living being, associated with the moods of the spirit, counselling, dissuading from and prompting action. The morbid obsession of an inconsolable bereavement, and the dual mapping of that loss onto city streets, fog-bound and empty, and onto a new living object, innocent of the simulacrum she's been forced to become. From the beginning, as it is with any example of writing with images, there is a question of how the images are associated with the text. A recent French edition of Bruges-la-Morte, for example, contains two scholarly essays, early documents pertaining to the idea of dead cities (beginning, surprisingly, with Wordsworth and Longfellow), and a bibliography of secondary sources: Yet the editors do not even mention the images in Rodenbach’s book, and they interrupt Rodenbach’s own novel to insert photographs of himself, his family, and his letters! The opening “Advertissement” ends with an invocation of “the pervasive presence of the waters” and “the shadow cast over the text by the tall towers” (“l’ombre des hautes tours allongée sur le texte”). The photographs seem most like images of Hugues’s thoughts when they are depopulated, and when we notice they are monochrome, ghostly, distant. Rodenbach says the city is “a character” and that it “appears almost human” (p. 1). This classic of Belgian literature epitomises the decadent final years of the nineteenth century, a north of the border companion piece to the poetry of Baudelaire and Verlaine, rich in dreaminess and mysterious in intent, a work of high seriousness a world away from the nut and bolts environment we inhabit today. Belgian Writer. Be the first one to write a review. I didn’t even see it first hand, I saw only her reflection in the surface of the mirror. Several chapters in, I had a flash of recognition—Hitchcock’s. C — É B ... Georges Collet couverture : ibidem : - - - A solitary life in a large house, each day repetitively scheduled including walks through the brooding empty streets of Bruges where the only occasional passers by are elderly women, bent and hooded apparitions of the march of death. Everything appears reminiscent of the loss of our loved one. Georges Rodenbach was born in Tournai to a French mother and a German father from the Rhineland (Andernach). The city embodies her, so in this sense it is less a “character” than a portrait. To see what your friends thought of this book. The story unfolds with the Taboada family receiving a mysterious letter from... Hugues Viane is a widower who has turned to the melancholy, decaying city of Bruges as the ideal location in which to mourn his wife and as a backdrop for the narcissistic wanderings of his disturbed spirit. There is a family resemblance of images and themes in Bruges-la-morte, Nadja, and Vertigo or Rings of Saturn: their relation is close for books separated—in the case of Sebald and Rodenbach—by over a hundred years. Refresh and try again. BRUGES LA MORTE is a slim novel telling the story of a man who, mourning his dead wife, moves to the Belgian city of Bruges, a city seemingly designed to mope in. It is not a projection of our loss but that we chose to live here, a place which occupies our feelings, moods. The mysterious atmosphere and ambiguity of coincidences remind me André Breton’s Nadja. Either Rodenbach did not expect his readers to look too closely at the images; or he didn’t think his readers would be distracted by scenes of the ordinary street life; or he meant the people in these images to be part of the narrative, the experience of reading of the book. (C) The photographs are a portrait, or representation, of Hugues. If you’re in the mood for some frothy fin-de-siècle melancholy, this is the book. DOWNLOAD OPTIONS download 1 file . There is something archetypal about the repeated vision of the pale, beautiful, fragile, utterly, “Upon the day following the funeral of the wife in whom was bound up all his possibilities of happiness, he had retired to Bruges as a fastness of melancholy and there succumbed to its fascination.”, A time of melancholic desperation. Free kindle book and epub digitized and proofread by Project Gutenberg. In my mind I thought I was paying tribute to her, and yet in reality I was doing her an injustice, reducing her to a single image, one that no one, not even she, could have lived up to. It has been noted that Rodenbach probably couldn’t find a photograph in the church’s interior, so he used this photo instead. (D) The city is a photograph. I read this in preparation of a production of the opera Die Tote Stadt by Erich Wolfgang Korngold, which will be performed by The Dallas Opera in March 2014. This novella has many themes: Bereavement, obsession, mortality, desire, religion, solitude, isolation. Bruges-la-Morte est un roman de l'écrivain belge de langue française Georges Rodenbach (1855-1898), considéré comme un chef-d'oeuvre du symbolisme, publié d'abord en feuilleton dans les colonnes du Figaro du 4 au 14 février 1892, puis en volume en mai de la même année, chez Flammarion. Albrecht Rodenbach, his cousin, was a poet and novelist as well, and a leader in the revival of Flemish literature of the 19th century. We’d love your help. It wouldn’t be possible to count all the figures in the plates, because the long exposure times blurs many of them. Because we’re not told exactly what Hugues hoped to find, the reader’s search is also inconclusive: just as Hugues did not know where or how the image of his dead wife would appear in or as Bruges, so we, as readers, do not know what, exactly, we are meant to be discovering in this slightly off-register pairing. Scranton, let’s not forget, is the setting for the US version of television’s "The Office", but there the comparisons end. The story is quite thin, and Rodenbach does little to fatten it up where he could have, reveling instead in the melodrama -- and in its locale, Bruges, which is much more than a mere backdrop here, becoming an entire Symbolist canvas. Bruges-la-Morte is a masterpiece in symbolist fiction – in fact, it is more like a prose poem dedicated to the city of Bruges, as a part of one man’s mourning. For me that blindness casts doubt on the entire translation. He went to school in Ghent at the prestigious Sint-Barbaracollege, where he became friends with the poet Emile Verhaeren. (B) The photographs are a portrait, or other kind of representation, of Hugues’s dead wife. At the same time, Hugues wanders in this city, so it is also something more than a projection. comment. The portrait quality is especially clear in photographs with water, towers, or the main Bruges belfry. This is the first such image, I think, in the literature. He went to school in Ghent at the prestigious Sint-Barbaracollege, where he became friends with the poet Emile Verhaeren. BRUGES-LA-MORTE É DIT IONS DU BOUCH ER G E O R G E S R O D E N B A C H . Bruges-la-Morte est un roman de l'écrivain belge de langue française Georges Rodenbach (1855-1898), considéré comme un chef-d'œuvre du symbolisme, publié d'abord en feuilleton dans les colonnes du Figaro du 4 au 14 février 1892, puis en volume en mai de la même année, chez Marpon & Flammarion (Paris), illustré de reproductions de photographies représentant divers aspects de la ville . This novella has many themes: Bereavement, obsession, mortality, desire, religion, solitude, isolation. Scranton, let’s not forget, is the setting for the US version of television’s "The Office", but there the comparisons end. (There is an account of photo-retouching in Edwards, Soleil noir, 52.). Thanks for that! This is a Symbolist classic, a portrait of a man in mourning who sees himself in the "dead" city of Bruges, tied to it by "an extra sense, frail and sickly," which links moods to buildings and images, "creating a spiritual telegraphy" between the soul "and the grief-stricken towers of Bruges." In this case it is possible that Rodenbach chose the photo partly for its grouping of figures, and it is not unlikely that we are to imagine this as the sort of thing Hugues sees as he wanders around the city. Stone says that he took the photographs, including one of the house where Rodenbach’s character Hugues is said to have lived, before he even read the book. 1. How silly of me. He no longer had to actually go back into the past, to remember his wife, but he could remember the quai where he’d seen the mysterious woman. Rodenbach worked as a lawyer and journalist. But after having read it, and helped to translate it, how could he think that the original is so independent of its images that they can be deleted and replaced by others intended simply “to show how little has changed”? Next is another image with people in it, which I’ll discuss in a moment: The narrative here is still the scene in the theater, so this is the first image that is disconnected from the text. Bruges-la-Morte ChapitreI luxe,lesloisirs,levoyage,lespaysneufsrenouvelantl’idylle.Nonseule-mentledélicepaisibled’unevieconjugaleexemplaire,maislapassion intacte,lafièvrecontinuée,le baiser à peine assagi,l’accord des âmes, distantesetjointespourtant,commelesquaisparallèlesd’uncanalqui mêleleursdeuxreflets. I can't be arsed to do it again at the moment. Georges Rodenbach, né le 16 juillet 1855 à Tournai et mort le 25 décembre 1898 à Paris, est un poète symboliste et un romancier belge de la fin du XIXe siècle. Just a moment while we sign you in to your Goodreads account. The photographs seem most like documents of Bruges when we think of them as stock photographs chosen by Rodenbach, or when we notice—as Edwards does—that they were made with plate cameras with shifted bellows to ensure the verticals remain upright. Stone, a translator and poet, supplied the book with 23 new photographs and omitted all of Rodenbach’s. He becomes obsessed with a young dancer whom he believes is the double of his beloved wife, leading him to psychological torment and humiliation, culminating in a dera. Of course, this piece (published in 1892) is much more melancholic, but I don’t agree that it is sentimental as a melodrama. Your email address will not be published. (Although it needs to be said there is no proof that Breton knew Rodenbach’s book in its original version, with photographs instead of drawings; see my remarks in the text on Breton.) Protagonist van het verhaal is de weduwnaar Hugues Viane die op zoek is naar de schim van zijn overleden vrouw en sterk wordt aangetrokken door Brugge. 60. (More about that here.). Mexican Gothic begins when happily ever after turns into a nightmare. 2. It is not a sublime work of art, it is not an epic, nor is it a treatise expounding on some political thought. It’s a beautiful scan, with Rodenbach himself as its only illustration! This is going straight to my Favorites shelf. If we read attentively, it’s an interruption in the narrative, suggesting that in some measure the city remains the image of his wife, even while Hugues is searching for the lookalike in the theater. The untranslatable title compresses that into a formula. 8. In his mind, Hugues is disconsolate and utterly alone. A good name might be imaginary stories because they happen in images. If we notice them, they become figures Hugues would have seen, as it would then be as if the narrator did not think were worth mentioning. He went to school in Ghent at the prestigious Sint-Barbaracollege, where he became friends with the poet Emile Verhaeren. There are no discussion topics on this book yet. It tells the tale of a widower (Hughes) who moves to Bruges after his young wife's death only to become enchanted and obsessed with a young dancer (Jane) who resembles his dead wife: My introduction to the writing of Georges Rodenbach comes in two parts. Everyday low prices and free delivery on eligible orders. I would definitely recommend it to include in your book club. I just wrote a review of this and it got lost somehow. There may be figures in the first two plates—it’s hard to tell—but this is the first figure who would be noticed by a reader without a magnifying glass. 5. The city has a “chemical atmosphere,” and is described in grays, blacks, and whites: it seems clear Rodenbach was writing an ekphrasis of photographs, and not of an actual city. “The widower reviewed his past in a sunless light which was intensified by the greyness of the November twilight, whilst the bells subtly impregnated the surrounding atmosphere with the melody of sounds that faded like the ashes of dead years.”, “As he walked, the sad faded leaves were driven pitilessly around him by the wind, and under the mingling influences of autumn and evening, a craving for the quietude of the grave … overtook him with unwanted intensity.”, Proustitute (somewhat here, somewhat there), Stephen P(who no longer can participate due to illness), 'Mexican Gothic' Takes Readers Deep into Danger. Bruges-la-Morte by Georges Rodenbach, translated by Mike Mitchell and Will Stone, introduction by Alan Hollinghurst (Dedalus, £7.99). Still, the streets of Bruges have a slow-burning mystery here, and a well-wrought background of fanatical Catholic disapproval that builds to fever in the culminating Holy Blood procession. (Berg’s Lulu was going something different. Georges Rodenbach (1855–1898) was a Belgian poet, essayist, playwright, novelist, ... Chronology of Works By Georges Rodenbach (1855-1898) Bruges-la-Morte. OGG VORBIS . Bruges-la-Morte est un roman de l'écrivain belge de langue française Georges Rodenbach (1855-1898), considéré comme un chef-d'oeuvre du symbolisme, publié d'abord en feuilleton dans les colonnes du Figaro du 4 au 14 février 1892, puis … Georges Raymond Constantin studied law at the University of Ghent and continued his studies at Sing-Barbaracollege. Bill, thanks. Better yet read it in Bruges itself. I was sitting on her bed, and she, with her back to me, was grabbing at her short hair and pouting at herself; and I don’t know, I can’t recall, if I even found it beautiful at the time, but, after the break-up, this probably unreliable memory became, for a short while, an obsession, and the standard against which I judged all other women’s looks. But the narrator doesn’t mention them, and so they become spectral narratives, detached from the prose. October 1st 2004 A reader who is asked to see the city through his eyes also sees these figures, and they become parts of the book’s narrative. This novel is not my style: it’s a symbolist work of High Romanticism, obsessed with death, religion, and excessive emotion. It is not a projection of our loss but that we chose to live here, a place which occupies our feelings, moods. Returning to Brussels to practice law, he decided to devote his time to writing, publishing his first volume of poetry, Le Foyer et les … Or the book doesn't really see her as innocent, casting her as a somewhat blandly archetypal manipulative harlot, but really who wouldn't fair poorly under the projected image of a lover who is unable to see her at all behind the other he has lost? 7, on p. 41: But a close looks reveals a person and a half standing next to him, accompanied by a blur (a second person? Bruges-la-Morte Georges Rodenbach Dans cette étude passionnelle, nous avons voulu aussi et principalement évoquer une Ville, la Ville comme un personnage essentiel, associé aux états d'âme, qui conseille, dissuade, détermine à agir. Georges Rodenbach Georges Rodenbach, né le 16 juillet 1855 à Tournai, rue des Augustins (maison disparue), baptisé à la Madeleine et mort à Paris le 25 décembre 1898. In this sense every photograph is either part of a portrait, or—in a wonderful equivocation—all the photographs comprise a portrait. 4. I prefer the third alternative. The lack allows us to the enter the images as ourselves without the draw back of interacting with people (vis-à-vis characters). Edwards notes this is the first appearance of the beffroi, the belfry of Bruges, which appears 13 times in the 35 plates, and stands for the city as much as any one place or monument—an appropriate image for the page describing the mementos of Hugues’s wife. Of course, this piece (published in 1892) is much more melancholic, but I don’t agree that. Welcome back. I have numbered the images. a record of his movement during the exposure? 1 Favorite . I wasn’t expecting to enjoy this book but I absolutely loved it. But the most interesting possibility is trying to think of these images as the contents of the narrator’s mind. The figures in the photos raise interesting problems for reading. He also wrote a number of collections of poetry of which ‘Le Règne du silence’ from 1891 in many ways prefigures Bruges-La-Morte. Perhaps he liked the way the second photograph revisits the first, in a more intensive fashion. The first person appears, I think, in photo no. plus-circle Add Review. The facing page contains the passage in which Hugues says he “only has to call up the memory of the old quai he had been going along the other day” when he saw her. It is strange and irritating that the English translation doesn’t tell readers that the images are new, and even odder and more annoying that Stone says he asked his publisher to use the 23 new photographs in order “to show how little has changed.” But how can readers appreciate that if they aren’t told the photographs are new? This provisional list of six meanings is remarkably wide-ranging, and I think Rodenbach’s book anticipates most of the principal ontological possibilities of meaning in later novels with photographs. Dealing with decadent themes of death, the occult, perversity and artifice, paired with the beautiful descriptions of a true flaneur, this gem maps out the intricate details of a city as if I’d lived there myself. Goodreads helps you keep track of books you want to read. Because it has often mattered that Rodenbach’s images are mainly deserted, it is important to note that many have people in them. Bruges-la-morte by Georges Rodenbach He desperately misses his wife; and in the cloistral, muffled, moribund city of Bruges he finds the perfect analogue for his grief. In only learned this after I read the book, from a. Bruges-la-Morte is a masterpiece in symbolist fiction – in fact, it is more like a prose poem dedicated to the city of Bruges, as a part of one man’s mourning.
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